Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
In My Dream I Saw in the Sky a Face of Mystery - Odilon Redon
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A haunting lithograph by Odilon Redon, this 1896 work explores themes of dreams and the subconscious through delicate tonal shifts and atmospheric depth.
This lithograph, titled 'In My Dream I Saw in the Sky a Face of Mystery' (Dans mon rêve, je vis au Ciel un VISAGE DE MYSTÈRE), is the first plate from the 1896 portfolio 'Songes'. Odilon Redon, a central figure in the Symbolist movement, produced this work during a period when he moved away from his earlier 'noirs'—the dark, charcoal-heavy drawings—towards a more nuanced exploration of lithographic texture. The image depicts a solitary, haunting face emerging from a dense, atmospheric void. The figure appears suspended in a state of contemplation, with one hand raised to the chin, suggesting a moment of internal reflection or dream-like apparition.
Redon utilised the lithographic medium to achieve a wide range of tonal values, from the deepest blacks to the softest greys. The background is not merely empty space, but a textured field that creates a sense of depth and ethereal light. The face itself is rendered with a focus on the eyes, which convey a sense of detachment from the physical world. This work reflects the artist's interest in the subconscious and the irrational, themes that occupied much of his career. By titling the work with a phrase that mimics a dream report, Redon invites the viewer to engage with the image as a fragment of a larger, unspoken narrative. The composition is tight, focusing the viewer's attention entirely on the enigmatic expression of the subject. This print demonstrates Redon's technical mastery over the lithographic stone, allowing for a delicate balance between the tangible form of the face and the intangible quality of the surrounding darkness. It remains a primary example of his ability to translate the subjective experience of dreams into a visual format.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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In My Dream I Saw in the Sky a Face of Mystery - Odilon Redon
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Odilon Redon
Redon's father made his fortune in the slave trade in Louisiana in the 1830s. The boy was conceived in New Orleans and born in Bordeaux in 1840. His parents sent him to live with an uncle on a rural estate at Peyrelebade, where he spent most of his childhood alone. He was sickly and withdrawn. The isolation produced someone who looked inward when he drew.
For the first two decades of his career he worked exclusively in black: charcoal drawings and lithographs he called his noirs. Floating eyeballs, severed heads with closed lids, spiders with human faces, plants that grow teeth. The images are hallucinatory but precisely rendered, closer to medical illustration than fantasy. He published his first lithograph album, Dans le Reve, in 1879. Nobody noticed.
Recognition came sideways. In 1884, Joris-Karl Huysmans published A rebours, a novel about a reclusive aesthete who decorates his rooms with Redon's prints. The book became a cult text for the Symbolist movement and Redon became famous by association. Stephane Mallarme, the Symbolist poet, became a close friend. Redon also completed a series of lithographs dedicated to Edgar Allan Poe, whose poems Mallarme and Baudelaire had translated into French.
After 1900 he stopped making noirs entirely and shifted to colour: pastels and oils of flowers, mythological figures and butterflies in palettes that anticipate Matisse. The transition was so complete that the Surrealists later claimed the black work while the Fauves claimed the colour, and neither group seemed to notice they were talking about the same person.
He studied under Jean-Leon Gerome at the Ecole des Beaux-Arts, which is an unlikely pairing: Gerome painted Roman gladiators with photographic precision. Redon painted eyeballs attached to balloons. Goya and Delacroix were the influences that actually stuck.
For the first two decades of his career he worked exclusively in black: charcoal drawings and lithographs he called his noirs. Floating eyeballs, severed heads with closed lids, spiders with human faces, plants that grow teeth. The images are hallucinatory but precisely rendered, closer to medical illustration than fantasy. He published his first lithograph album, Dans le Reve, in 1879. Nobody noticed.
Recognition came sideways. In 1884, Joris-Karl Huysmans published A rebours, a novel about a reclusive aesthete who decorates his rooms with Redon's prints. The book became a cult text for the Symbolist movement and Redon became famous by association. Stephane Mallarme, the Symbolist poet, became a close friend. Redon also completed a series of lithographs dedicated to Edgar Allan Poe, whose poems Mallarme and Baudelaire had translated into French.
After 1900 he stopped making noirs entirely and shifted to colour: pastels and oils of flowers, mythological figures and butterflies in palettes that anticipate Matisse. The transition was so complete that the Surrealists later claimed the black work while the Fauves claimed the colour, and neither group seemed to notice they were talking about the same person.
He studied under Jean-Leon Gerome at the Ecole des Beaux-Arts, which is an unlikely pairing: Gerome painted Roman gladiators with photographic precision. Redon painted eyeballs attached to balloons. Goya and Delacroix were the influences that actually stuck.
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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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